Hymns: An Old/New Resource for Teaching Choral Music (original) (raw)
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THE VALUE OF SINGING HYMNS IN CHRISTIAN WORSHIP
Music in and Out of Culture: Musical Arts Education Perspectives (a Festschrift for Isaac Ovabohrene Idamoyibo), Chapter 23, Ile-Ife: Malthouse. pp.459-476., 2021
This paper examines the value of singing Christian hymns in public worship with a focus on evangelical churches in Benin City, Edo State, Nigeria. It identifies the problem of lack of interest of youths in the singing of traditional hymns and their preferences for contemporary gospel music in Christian worship. It stresses the value of singing of hymns towards Christian maturation. Using participants observation and interviews with carefully selected worshippers in the area, the study examined the perceptions of Christians on the role of hymn singing public worship towards Christian maturation. It argued that Church Music is focused on fulfilling the mandate of Christ towards Church growth. That the primary essence of church music is not for commercial purposes or for entertainment, nor for other material gains, rather, it exists for spirit-filled and truthful worship, for ministry, and for Christian maturation. The paper highlights some values of singing hymns in Christian worship and concludes that church leaders have a duty to continually incorporate theologically appropriate hymns for use in worship to strengthen its values for nurture, fellowship, and for ministry. The paper recommends deliberate actions in choosing relevant hymns for liturgical process, more creative use of hymns in the liturgy of the churches, and the need to create avenues for more training of music leaders through music conferences and workshops.
From psalmody to hymnody : the establishment of printed hymnbooks within hymn singing communities
2001
The aim of this study is to discuss developments in the presentation and singing of hymns from the minimal involvement of late eighteenth century congregations to the full participation expected in the late twentieth century. One source of important musical, social and cultural details illustrating developments in hymnody is found in a range of representative novels. This information is corroborated by other written accounts such as diaries, census material and church records. Early on in the research three handwritten part-books were discovered, dating from 1837 to 1911. This primary source material is vital in the discussion concerning changes in hymn and psalm tunes, and provides substantive evidence that such part-books are forerunners of published hymnbooks. Furthermore a direct link is established between local manuscripts and fictional writing as the provenance of the earliest part-book is traced to the family of novelist Flora Thompson. Further developments in hymnody are seen in the examination of children's hymns. A case study is presented of the flourishing tradition of hymn singing at Bicester Methodist Sunday School. One innovation was the formation of a harmonica band, and detailed notebooks and concert plans reveal the range of the band's sacred and secular programme. A fieldwork survey was conducted to investigate the hymn singing preferences of regular worshippers from five Christian denominations in Bicester. Whilst the responses reveal few differences between the groups, there is compelling evidence that the popularity of certain published hymnbooks has led to a common ownership of hymns, enabling them to be enjoyed both in and out of worship. This study therefore reveals the clear line of development from psalmody to hymnody, from handwritten manuscripts to published hymnbooks. The social context in which both texts and tunes are considered provides a clear illustration of the importance of hymns to the singing population. FROM PSALMODY TO HYMNODY: THE ESTABLISHMENT OF PRIN'T'ED HYMNBOOKS WITHIN HYMN SINGING COMMUN[TVES. TABLE OF CONTENTS CIJAPTER ONE-INTRODUCTION "'" l\. ims ofthc research. V Definition of terms. V Brief history oi' psalmody. "'" IntrodLtction to the rural choirband. V The importance of personal recollection of hymn singing by novelists. V The introduction of Hvrnns Ancient and Modern. V Introduction to handwritten manuscripts. V 1-[vmnbooks for children. V Introduction to the Anniversary hymns at Bicesler Methodist Church. VI {ymn singing in the community and the Red Rhythmics harmonica hand. """ F ieldwork survey. CIIAP'TER T'WQ-METHODOLOGY V '1he collection of the data. o Secondary source material, including novels and accounts of hymn singing. o Primary source material, including handwrittcr, manuscript hooks, hymn sheets from Bicester Methodist Church, personal papers from members of Bicester Methodist Church. o Fieldwork: questionnaire distributed and responses analysed. "'" Analysis of the data. "'" Presentation of the data. CHAPTER THREE-THE SIGNIFICANCE OF HYMNS AND HYMN SINGING AS THEY ARE REPRESENTED IN LITERATURE. V Novelists' use of hymns to establish traits of character. V Early novels-Tobias Smollett. V Oral tradition in hymn singing-Thomas Hardy. V Differences between Anglican and Methodist hymn singing-George Eliot. V Hymns tailored to suit the context of the novel-George Eliot. V Performance of hymns in the eighteenth and nineteenth centuries as illustrated by novelists including George Eliot, Charlotte Bronte, Washington Irving and Thomas Hardy. V Differences between the romance of novelists and the reality of diarists: Holland, Skinner and Woodforde. V The transition from handwritten, local compositions to the introduction of the hymnbook as discussed by novelists such as George Eliot. V Changes in the Anglican Church as a result of the Oxford Movement as seen in the work of Samuel Butler. V The ousting of the choirband as seen in the work of Samuel Butler, Thomas Hardy. V The treatment of hymns by children's novelists, and a child's perception of the introduction and use of the hymnbook as seen in the work of Laura Ingalls Wilder. V The use of hymns to illustrate situations on which religion has little or no bearing as seen in the work of Howard Spring, Barbara Pym. V The importance of hymn singing in a modem way of life as seen in the work of Mary Sheepshank. V The most recent developments in hymn singing in church and community as seen in the work of Mary Sheepshank, Diana Saville.
A Study of Christadelphian Hymnody " Singing with the spirit and with the understanding "
The purpose of this study is to examine and define what is considered to be sacred music in Christadelphian worship by comparing Christadelphian ideas about music with the actual practice of music as demonstrated in written historical sources and in contemporary performance practices. Christadelphian music is made up of mainly hymns, anthems, psalms and contemporary songs. An expression that Christadelphians favour in describing how music is to be used is taken from the Bible, in 1 Corinthians 14 verse 15: “to sing with the spirit and to sing with the understanding”. This is a Christadelphian ideal that has been used to justify many editorial decisions and performance practices. Up to ninety percent of the music used has been sourced from other religions, but the Christadelphians have adapted the pieces to suit their purposes. At various times, fourteen different hymn books have been developed for use in English speaking countries, with some being accepted and some rejected for social and religious reasons. In the first seven chapters, the history of the various hymnals are outlined, including issues that arose in the publication of these and how they were used in the community. The eighth chapter examines views on music that have been published separately to the views contained in the hymn book prefaces and how music is used today in Christadelphianism. The thesis follows the history of Christadelphian hymns, including where hymns have been borrowed from, as well as the music and text of Christadelphian origins. This history is presented in light of the development of Christadelphian society and how certain religious values affect the choice and presentation of their music, including performance practices. Indexes with hymn text and tune headings are provided in the appendix of all Christadelphian compositions published and can be cross referenced with each other. Finally all issues presented in this thesis are linked to the Christadelphian ideal of singing with the spirit and understanding to show how this is practiced in current congregations.
Examining Contemporary Congregationsl Song - beyond sung theology
2013
What Christians sing as they worship is a focus of considerable attention in the contemporary church and yet it has been a contentious issue at almost every period of Christian history. Since the mid-twentieth century, significant social, cultural, and technological changes, all against a backdrop of increasing global consciousness, have affected the way music functions and the ways opinions about repertoire and performance practices are formed. The primary focus of this project is the analysis of eight songs composed between 1983 and 2001. The essential question is how musical analysis contributes to a greater understanding of the nature of contemporary congregational song and various performance practices. This project will focus on analysis of harmonic structures as the major element. This will provide a framework from which comparisons of other musical elements can lead to a greater awareness of the issues of music and worship, and of music and theology. Developing a greater und...
2019
One of the most important aspects of the role of worship leader, is that of choosing relevant worship materials. The use of hymns has enhanced worship for ages. The trends of the current age have precipitated a concern and need for conscientious selection of music, along with appropriate application of the singing of hymns, psalms, and spiritual songs. A major consideration in worship planning is to utilize music which reaches all generations. The impetus of this study is primarily based upon biblical, historical, theological, philosophical, methodological, and observational practice of worship. The research focuses upon the importance of planning and implementing worship music based upon realization and practice of the spiritual gifts. This study will examine the spiritual gifts, observe the roles of the worship leader and worshiper, and explore the use of hymns as influenced by the gifts of the Spirit. Furthermore, this research will establish a synchronization between worship, the worship leader, and the worshiper, through hymns which are based upon and reflective of the spiritual gifts. A devotional guide, utilizing hymns as a source of meditation will be provided. The guide will be organized into the topical areas of love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, self-control, wisdom, healing, and encouragement. v ACKNOWLEDGEMENTS From the earliest influences of Bible stories as a child, to the impact of studying under the tutelage of Liberty University's dynamic worship and music faculty, I have been eternally blessed. My heartfelt thanks and gratitude to all who have inspired and guided me along the way and have traversed this journey by my side. A special note of thanks to Dr. Lavon Gray in helping shape the inception of this work, Dr. Donald Ellsworth for his guidance, assistance, and continuous encouragement throughout the process, and Dr. Gabriel Miller for his reading and review of this project. A note of appreciation to Dr. Danis Simmons for her valuable insight, and especially to my mother, whose continued confidence and faith has been my strength not only in this effort, but throughout my life. I dedicate this project to my mother, father, and brother with the fondest memories of our Sunday afternoon singing of hymns, and to my immediate family for their patience and support during this endeavor. Above all, thanks be to God from whom all gifts are received through the power of His Holy Spirit and to whom all glory, honor, and praise is given, now and forever. Amen.
Sacred Liturgical Music Ways to Promote Congregational Singing
Asian Journal of Religious Studies , 2024
The congregational singing in numerous Indian churches has undergone significant transformations. Congregations singing in Catholic Mass foster community building through social, communitarian, and spiritual experiences. It connects people to God, builds community, and experiences sacred religious texts as prayer. This paper examines parish music and Church liturgical norms, focusing on sacred music and appropriate music for liturgical celebrations, aiming to promote congregation-centered singing and communion, rather than a choir-centered church culture. "The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this preeminence is that, as sacred song closely bound to the text, it forms a necessary or integral part of the solemn liturgy." (Constitution on the Sacred Liturgy, SC 112)